Mixing Things up for a Sweater

words and photos by: Johanna Carter

I always admire those who are able to spin mountains of yarn for a big project, ready to knit a wonderful sweater or cardigan. It is a satisfying feeling when you finish all that work, especially if you started with washing and combing the wool or even raising your own sheep.

Mixing spinning and knitting

The typical way to work through a larger project is to spin all the singles first and ply them in a particular order so you get the yarn even throughout the whole project. I don’t have so many bobbins, but my bigger problem is that I am quite impatient and want to get on with knitting once I have an idea. And normally, my brain is full of ideas for fibre work and the limit is the time, as I am a musician and teacher. I can’t sit at the spinning wheel for a long time if I’m not on holiday, so during the school year I mostly knit, and during the holidays I can dye, spin, use my drum carder, and do lots of fibre work. The only time I was able to produce bigger quantities of yarn before I knitted them up was during the Tour de Fleece in the two years during the pandemic, when we did not go on holiday at the beginning of July.

A highly photogenic collection of naturally dyed fibres.

I like to finish knitting one big project like a sweater or cardigan before I start the next one, or at least until I can’t carry it in my bag easily anymore, so I have an excuse to begin the next one. Sometimes it is good to have a second project on the go – I call it mindless knitting, where I don’t have to look very much – which I can keep my hands busy during Zoom or other meetings, which helps me listen.

Mixing colours and fibres

Usually I dye my yarn with plants which I collect in the woods or get from garden flowers. I also use cochineal and indigo, which I buy, to get lots of different colours. I really love the greens and blues I get from dyeing with indigo. I have lots of dyed wool, and all those colours give me inspiration for further projects.

Beautiful greens and blues dyed by the author using indigo and other natural dyes.

Blending the wool on the drum carder I can get even more shades. I like to blend with fibres like silk, alpaca, or plant fibres, and I love sari silk, to get those little bits of colour in my yarn.

Fibres of different types and colours are blended on a drum carder for elegant results.

When I have an idea for the next sweater, I start carding, and then I can begin to spin. Once I have spun enough yarn – say, for one day – I cast on and start knitting, usually top down, so I don’t have to decide too much in advance about length and width.

An idea for the author’s next sweater in the gathering stages.

When I spin on my wheel, I have to sit at home, but while spinning I can read a book or talk to others during online meetings. I also like to spin on my spindles, and that works on a walk, or a museum visit. I take them on holiday as they don’t need much space, and when I spin for a lace shawl, I don’t even need much wool either. At home there are spindles all over the place; I can spin when I am waiting for the kettle to boil, when the computer is slow, when I am cooking. Like that I can make good use of a short time and the yarn still grows.

Knitting as soon as the yarn is spun helps the author complete sweater projects in a timely manner.

I can take my knitting almost everywhere, which is why I don’t want to wait to get started until I have spun all the yarn for a whole sweater. I knit at home, on the bus or train. The only thing I have to make sure of is to be one step ahead with the yarn.

I love to knit Fair Isle sweaters. My favourite method is to use only one bobbin, which I don’t even fill, because I need smaller quantities of lots of colours. Then I wind a ply ball and ply it on itself. For that I put my thumb through the ball, so I can tension the two singles with my fingers and they don’t get tangled, as long as my thumb (or a cardboard roll or a pencil) stays in the middle. I don’t have any leftovers from plying, and it is quick when I suddenly need more yarn.

Several charming sweaters dyed, spun, and knit by the author.

I have never had problems with the yarn not being consistent enough throughout a project. I just know what yarn I want and my fingers seem to remember what to do. I am sure it is good advice to have a little card tied to the spinning wheel with a bit of the singles you are aiming for, so you can check and make sure you are spinning a consistent yarn.

Mixing breeds

There are so many different breeds, but some of my favourites are Shetland, BFL, and Jämtland – a Swedish breed. After dyeing them, I often forget what I have used, so when I do a new project it often turns out that I have used different breeds and fibres just to get the right colour. For the Fair Isle knitting I want to juggle lots of colours, which is more important to me than making a sweater out of only one breed.

Recently I made a pullover for my husband using about 12 different breeds and colours, even mixing short and long draw. For me it was a breed experiment and a way to use up lots of smaller quantities of wool I had in my stash. For that sweater I used combed top without blending.

Mixing in knitting during the spinning process is a wonderful way for a spinner to avoid being overwhelmed during a sweater project.

My feeling is that some people don’t dare to start spinning for a bigger project because they get overwhelmed by the quantity they have to spin and then all the knitting there is to do, especially when you want to spin the yarn entirely on spindles. Mixing the spinning and knitting for the same project is more interesting; you get more variety and more freedom to choose what you want to do next as long as you don’t run out of yarn. It breaks the project down into smaller, less daunting parts. The only thing you might want to plan is to have enough fibre at the start, but even that is not necessary, there is always a sheep growing more wool.

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Ask Jillian January 2025 

How do you get yourself to practice other styles and structures of yarn? I learn to do something new and then just go back to my default yarn. I want to make new yarns!
Eleanor, Ithaca, New York 


Hi Eleanor, 

It’s sometimes hard to get yourself to practice new things. For me, I find it comes down to comfort – I love spinning my default yarn! It’s also some combination of not being sure what to do, wanting my new yarn to be perfect on the first go, and being overwhelmed by all of the possibilities. 

Here’s how I encourage myself to practice and experiment with new things. 

Make it enjoyable 

Use your favorite fiber and color and use your favorite wheel. These things will make the spinning more pleasurable, but you also know exactly how these things behave, so you don’t have the added layer of figuring out a new or finicky fiber or using a wheel that you may not be able to adjust on the fly. 

I also pick something that I’m excited about to watch or listen to while I’m practicing. A TV show, podcast, or book that I only watch or listen to while practicing will get me to my wheel and my new yarn. A bonus to this is it also naturally sets a time limit; working on a new yarn regularly for smaller bites of time, happily spinning, is better for learning than sitting at the wheel for hours and hours exhausting yourself. 

Make a plan 

Have an idea of what you’d like to spin, and be sure to make it smallish. I find it’s better to make a plan that has several yarns that are building blocks to a bigger goal. Even better if it’s tied to something else you are already excited about or are expanding on.  

For example, I want to get better at spinning a worsted yarn consistently at a variety of sizes. That’s a giant and kind of amorphous goal. It’s not a goal that will get me running to my wheel. But if I shift it into a series of yarns tied to other things I want to do or am already interested in, I get excited to spin.  

Two yarns are at the top of my worsted spinning list this winter: 1) a fingering weight yarn (smaller than my default) out of a soft short-stapled fiber (a challenge to keep consistent) to make a Sophie Scarf (not a huge amount of yarn and a cozy project for winter), and 2) a low-twist worsted yarn to experiment with grist (a long-time obsession) – I’m looking for the lightest worsted yarn I can make. 

If you tie your plan to a very specific yarn or pattern it will motivate you even more. 

Make notes 

I talk about this a lot (it helps me to remember to do it too): figure out a way to keep notes on your spinning and keep track of your goals and experiments. You will learn so much about your spinning! 

Keep notes on fiber, prep, draft, wheel setup, ply, and finish for each of your yarns. Then make your yarn into a swatch in whatever craft you are working in, and evaluate your outcome. Make more notes on what worked and didn’t, suggest adjustments, and dive in for another sample. Keep repeating the process until you have the yarn you want. 

Is it weird that when I’m learning and experimenting, I’m excited for my yarns to be not quite right? I learn so much more from a yarn that went off the rails when I go through the evaluate–adjust process. 

I like to tell my students, if you want to be a better spinner you have to make a lot of crappy yarn. 

Make it public 

Tell your spinning friends about your plans and goals; they will cheer you on the whole way. Chances are someone in your spinning group will be really good at what you want to do and give you tips.  

Watching other spinners spin the type of yarn you want to make helps too: friends, students in class, YouTube videos, and if you are a member of the PLY Spinners Guild, you can watch a variety of teachers do their thing.  

Everyone spins a little differently; a room full of spinners making a 3-ply, worsted, fingering weight yarn will be a room full of different techniques – no one will have twist between their hands, but they will hold the fiber and draft in their own unique way, and seeing that always helps me tweak my own spinning style for the better. 

Jillian 


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Book Review: Japanese Paper Yarn by Andra F. Stanton

Japanese Paper Yarn: Using Washi and Kami-ito to Knit, Crochet, Weave, and More
by Andra F. Stanton
Schiffer Craft
$26.99, Hardcover, 96 pages
Published: November 28, 2024
Buy now at Bookshop.org
Reviewed by Meagan Condon

If there is one truth I’ve learned through the years, it is that the people who love yarn and the people who love stationary/pens … are actually the same people. There is something about these two mediums that speak to the same primal, creative impulses in us. But what happens when we consider where these mediums overlap one another?

Released in November 2024, just before the holiday season, Japanese Paper Yarn: Using Washi and Kami-ito to Knit, Crochet, Weave, and More by Andra F. Stanton is a engaging read for papermakers and handspinners alike.

Kami-ito is the Japanese art of turning washi paper into thread or yarn. If you think, as I did coming into this read, that paper is a weak material, think again! Japanese washi paper is made from the inner bark of kozo mulberry, which contains long, strong fibers that are preserved through the papermaking process. The finished paper is turned into strips and is then twisted to form a fine thread.

Stanton first introduces the reader to the history of Japanese paper and paper yarn, including how paper yarn was used to create clothing. She explains in suitable detail the process of making washi paper from kozo and how to prepare that washi for spinning. Because many of the materials used in the projects can be difficult to find in Western countries, Stanton clearly names these materials and includes several sources where materials can be purchased, including already spun kami-ito.

The book continues with 12 projects that range from novice to intermediate difficulty. Not only do the projects range in skill, they also incorporate a variety of inspirations and partner crafts, like knitting, weaving, crochet, bead-making, and knotwork. Stanton does a great job showing the range of what can be done with paper yarn!

By far, the best part of this book may be the beautiful, full-color photographs of original paper yarn creations by dozens of contemporary artists. The art featured in the book coordinates with the projects and showcases the skills taught in each project. It had me flipping back and forth comparing the art to the projects and “ooh”ing over how this or that art piece used this or that skill.

This may be the technical spinner and process crafter in me, but if there is one piece I craved more of in this book, it is details on the process of spinning paper yarn. Chapter 4 covers making both washi and kami-ito. It gives a beautiful description of how to prepare the washi for spinning but expects the reader to come to the text with a basic understanding of how to spin. I would have loved to get some trouble-shooting tips on the spinning process!

While there are more detailed texts available that speak to the history and practice of making paper yarn (such as Kigami and Kami-ito by Hiroko Karuno), Stanton’s book may be one of the most accessible for Western audiences. It gives the reader enough information to whet their appetite and stretches the imagination on what can be done with paper. If you crave texture in spinning, kami-ito may be the next big stepping stone in your spinning journey.